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TRANSCRIPT
VOLUME 1, NO. 5 OF A SERIES OF BUYERS’ GUIDES
TO PRODUCTS AND SERVICES
codecs DRM
encoding formats captions
ABR technologies
S P O N S O R E D B Y :
ADVANCED ENCODING & TRANSCODING
WP38 ADVANCED ENCODING & TRANSCODING VOL. 1, NO. 5 • STREAMING MEDIA • JULY/AUGUST 2019 SPONSORED CONTENT
TABLE OF
CONTENTS4NETINT TEchNologIEsEdge Encoding for the Video Cloud
6TElEsTrEam
Today’s Content Distribution Challenges Go
Far Beyond Transcoding and Exporting FilesCHRIS OSIKA, CHIEF MARKETING OFFICER, TELESTREAM
8MEdIa ExcEl
Multiscreen Encoding/Transcoding
for Ad-Supported ServicesHow the encoding/transcoding platform impacts the performance and value of ad-supported services
10NEwTEkSwimming UpstreamEncoding and Streaming for Real-Time Production
12VErIzoN mEdIaEncoding for High Quality Live Sports StreamingNATHAN BURR, SENIOR ENGINEERING MANAGER
14PTzoPTIcsEncode and Stream Right From Your Camera
16DVEOEconomics and Evolution: The Two Drivers of
Cloudification and Survival as a Niche PlayerLASZLO “LES” ZOLTAN
18AWSRevolutionizing High Resolution Streaming At ScaleDAN GERMAIN, SENIOR PRODUCT MANAGER
COMPRESSION & VOD, AMAZON WEB SERVICES
20rEcommENdEd rEadINg aNd VIEwINg
20suPErmarkET
21our sPoNsors
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WP4 ADVANCED ENCODING & TRANSCODING VOL. 1, NO. 5 • STREAMING MEDIA • JULY/AUGUST 2019 SPONSORED CONTENT
Edge Encoding for the Video Cloud
A s the industry adapts to the ongoing growth in
video streaming volumes and applications, cloud
computing and video distribution companies need
to reconsider the locations for expanding video encoding
capabilities in their networks. Historically, video encoding
was most often processed inside centralized data centers to
consolidate operations and to achieve economies of scale.
However, the costs associated with video distribution,
along with the low latency encoding requirements for
emerging interactive video applications, is motivating video
distribution network architects to reevaluate their edge
encoding options.
VIDEO ENCODING ESSENTIAL FOR STREAMING SERVICES
Video streaming is usually delivered to end user devices
using adaptive bitrate (ABR) technologies. For ABR to work, a
set of video encoding ladders needs to be prepared from each
high-bitrate source video input. As a general benchmark,
an encoding ladder is typically a set of ~6 to 10 encodings of
incremental sub-bitrates and resolutions of the exact same
video content, resulting in a total bitrate for each encoding
ladder set equal to ~2.5x the original high-bitrate source
video input.
ALTERNATIVE LOCATIONS FOR ENCODING IN THE VIDEO CLOUD
Centralized DC—Video encoding requires a great deal
of computing hardware or specialized encoder equipment,
especially for live video streaming, making centralized data
centers (DCs) the natural choice to build encoding capacity
with economies of scale. Operators can consolidate encoding
operations to just a few centralized locations, leading to the
lowest encoding infrastructure investment, but not necessarily
the lowest overall operating costs. Meanwhile, ABR streaming
servers are typically hosted closer to the users in regional data
centers or points of presence (POPs) to minimize latency and
maximize quality of experience for a concentration of video
consumers in each region. The operational challenge is that
distributing full encoding ladders from centralized encoding
farms to the regional locations requires 2.5x the bandwidth
and ongoing networking cost, compared to distributing only
the original high-bitrate source video to each regional location.
Regional DC—In today’s core networks, central and
regional data centers are often connected with dedicated,
high bandwidth point-to-point links which are expensive to
operate - especially during peak video streaming periods. A
regional encoding strategy would increase encoding processing
CAPEX across a larger number of regional data center or POP
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locations, but the benefit
is only the original high
bitrate source video
is distributed to each
region. Total cost of
ownership (TCO) analysis
over a multi-month
planning period would
show that a regional
encoding strategy, when
both video distribution
and encoding costs are considered, would be more economical.
Edge DC—Many emerging interactive cloud-based video
applications, such as cloud gaming, AR, VR, or 360° video, will
require very low latency 20 ms feedback loops. Supporting these
low latency requirements from centralized data centers will be
difficult to achieve due to network propagation delay. Instead,
edge data centers will be the preferred hosting locations of these
next-generation applications and associated video encoding
services. With the rollout of 5G services, mobile network
operators are also deploying edge data centers close to 5G
radio equipment to support the next generation of interactive
or latency-sensitive mobile video applications and services.
Consider the low-latency processing required for a typical
interactive video application, starting with a game controller
or VR headset movement command sent into the cloud gaming
engine and rendering for each player in edge gaming server,
encoding the next video frame for each player, before sending
the next frame back to each player’s video display. These
applications will demand high video encoding performance
requirements, with solutions expected to generate UHD
resolution for gaming or VR headset displays with ultra-low
encoding latency.
TECHNOLOGY OPTIONS FOR VIDEO ENCODINGToday, video encoding services are often deployed as
software processes running on compute resources. Variations
on this architecture include cloud-native software that
can be deployed on virtualized or containerized instances
in the cloud or enterprise data centers. While software
encoding on CPU is your most f lexible option, it is also likely
your most expensive option requiring the most servers,
rackspace, power, and cooling, making this encoding
strategy undesirable, if not impractical, for edge data center
environments. Other options to improve encoding densities
and reduce power consumption include software encoding
solutions that run on graphic processor units (GPUs) or field
programmable gate arrays (FPGAs). However, to achieve
the density and low power targets of edge data center
environments, application-specific integrated circuit (ASIC)
encoding solutions are your best option.
EDGE ENCODING AT SCALEThe Codensity T408 Video Transcoder (go2sm.com/codensity)
is a compact ASIC-based module delivering a staggering 4K/
UHDp60 UHD encoding throughput. T408 modules are based
on the standard 2.5” U.2 form factor, for plug-in provisioning
into standard NVMe servers, delivering the highest density,
high encoding quality, lowest power, and reduced rackspace
requirements. FFmpeg can be used for integration with
existing encoding ladder
workflows, or an API can
be used for specifying
ultra-low latency
configurations for
cloud-based interactive
video applications.
For applications
requiring both
encoding and storage in
space-constrained edge
data centers, the new
Codensity EdgeFusion
E408 (go2sm.com/
edgefusion) offers
similar transcoding
capabilities with
integrated 3.5TB SSD
storage in the same
form factor.
In summary, the
versatile Codensity
T408 Video Transcoder
and EdgeFusion E408
deliver the following capabilities and benefits for cloud
computing and video distribution companies:
• Encoding at scale for centralized encoding,
• Lowest TCO with regional encoding,
• Interactive video encoding at the network edge, and
• Video storage at the most economical location.
To learn more, please download our latest whitepaper Edge
Encoding for the Video Cloud (go2sm.com/netintwp), or visit
www.netint.ca.
Edge Encoding for the Video Cloud
ABOUT NETINT TECHNOLOGIESNETINT Technologies is a pioneer of innovative SoC solutions intersecting computational storage and video processing. Its Codensity portfolio enables cloud data centers, edge computing companies, and content providers to deploy scalable high performance applications, while minimizing their data storage and video processing costs. NETINT, founded by an experienced team of storage SoC veterans, is a Canadian venture-funded high-tech company with R&D facilities in Vancouver, Toronto, and Shanghai, China.
Encoding in regional data centers achieves the lowest TCO due to an ongoing monthly reduction in video distribution bandwidth and associated costs.
Codensity™ EdgeFusion E408
• Highest Density Encoding• High Encoding Quality• Least Rack Space• Lowest Power• Ultra-low latency• FFmpeg or
API integration• Integrated 3.5TB
NVMe SSD
WP6 ADVANCED ENCODING & TRANSCODING VOL. 1, NO. 5 • STREAMING MEDIA • JULY/AUGUST 2019 SPONSORED CONTENT
Today’s Content Distribution Challenges Go Far Beyond Transcoding and Exporting FilesCHRIS OSIKA, CHIEF MARKETING OFFICER, TELESTREAM
T he media & entertainment supply chain is under
increased pressure as the number of devices and
locations from which consumers access content
continue to rise. According to a recent Cisco whitepaper
(go2sm.com/ciscovni), one million minutes (17,000 hours)
of video content will cross global IP networks every second
by 2021. While new distribution agreements enhance the
revenue of content owners and originators, there hasn’t
been a corresponding allocation of resources to fulfill
these agreements. Transcoding and packaging of media is a
substantial part of the media & entertainment supply chain
process, particularly when prepping for a new outlet. However,
it is far from the only issue. In any on-prem workflow, graphics
are added/removed/altered, dialog is replaced, legislative
advisories are added/removed/replaced, promos are inserted,
and much more. Platform requirements further complicate
the issue with adaptive bitrate (ABR) variants being optimized
for different devices and closed captioning, dynamic ad
insertion, sidecar content, and loudness standards to be
adhered to. Working with international distributors creates
still another set of demands focused mainly on localization
of programs and movies. In many cases, these additions and
alterations are performed by an automated “bag and tag”
edit function running largely autonomously. (We certainly
don’t want people doing such repetitive, mundane work.)
KEEP SILOS ON THE FARMMany organizations have set up distinct workflows for each
distribution destination as the need has arisen. Frequently,
these workflows will be comprised of different technologies
and service providers that were available at the time to get the
job done. This is not surprising, as each of the workflows comes
with unique demands that content originators may not be
equipped internally to provide. With these custom tools in place
and independently deployed for each use case, organizations
become challenged when moving to new, centralized workflows
that can scale as required. These resultant siloed workflows are
inefficient, difficult to maintain, and costly in terms of resources
(machine and human).
IS THE CLOUD THE ANSWER? YES AND NOThe need to scale up media processing resources has never
been greater as distribution contracts get signed, back catalogs
are refreshed, and programs find new avenues to viewers. For a
growing number of companies, though not all, the logical solution
is to move the media supply chain up into “the cloud” and make
use of the well-understood advantages that such architectures
promise. The scalability of cloud processing, along with the idea
of consumption pricing for the infrastructure and processing
make this an easy decision in the minds of many CFOs, as
moving more expenses to an op-ex budget can be very attractive.
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However, when considering moving myriad processes into
the cloud, companies are quick to recognize the necessity of
replicating in the cloud all of the tools that they rely on locally.
This includes the workflow automation engine that ties all
of these processes together into an efficient, cohesive whole.
Transcoding alone simply does not suffice. For example, more
and more outlets require IMF packages as the mechanism
of delivery. These are not simply transcoded copies of the
original master (which may have been made many years ago),
but program segments that require significant processing in
order to create the multiple components that make up an IMF
deliverable. Depending on the number and variety of silos that
have sprung up to manage and prep content, moving everything
lock, stock, and barrel into the cloud could be a tall order.
USING THE CLOUD WITHOUT GETTING RAINED ONWhen it comes to processing media for distribution, the
first rule of the “Cloud Club” is not that nobody talks about it,
because everybody is talking about it incessantly. Instead, the
first rule is to “follow the media.” If your media is in the cloud or
going to be in the cloud, then by all means you should process it
there. If it is “on the ground,” then it’s going to be very expensive
to push it to the cloud for some processing, only to have to pay
handsomely to bring it back down. One of my colleagues refers
to this as the “Hotel California scenario,” as businesses can
check in their data for free but can’t ever leave without paying
extortionate egress charges. The lesson here is that there are
many instances where on-premise workflows will still rule when
it comes to efficiency, particularly when it comes to specialized,
high-resolution, high-bandwidth content workflows.
Moving to the cloud doesn’t have to be an all-or-nothing
proposition, and it’s important to be wary of any opinion to the
contrary. There are a number of scenarios where cloud-based
processing—and particularly processing hosted by a public
cloud provider—is not preferable or even feasible. There are data
ownership provisos in many source agreements that prevent
material from being housed on a public cloud platform. There
are also some scenarios in which an on-prem platform can
actually be more cost-effective than a cloud approach—mainly
those where the “run rate” business is well known, and there is
less need for “bursts” of processing.
SECRETS TO SUCCESSFor many media organizations, the solution is to go for
a hybrid approach that covers the run-rate business, or a
significant portion of it, with on-prem processing but with the
capability to process in the cloud where it makes the most sense
(follow the media). Or whenever the company has a burst of
work which cannot be fulfilled with on-prem processing within
a given time frame. The secret here, though, is to ensure that
both on-prem and cloud-based workflows can offer all of the
same capabilities with no exceptions and hopefully with the
same interface. Once again, it’s so much more than transcoding.
All of the processing steps and options need to be available in
both scenarios for this approach to be successful.
Telestream released Vantage Cloud Port earlier this year
to enable Vantage users* to select encoding actions within
their workflows that would normally consume on-premises
resources and to export those actions to the cloud. Vantage
continues to control and orchestrate those actions, but it is
now consuming public cloud resources via Telestream Cloud
running in a public cloud platform of choice. Customers pay
for these actions on a per-content-minute basis. It is a hybrid
model that enables a customer-managed on-prem installation
to be augmented from an infrastructure perspective and a
licensing perspective by Telestream.
Vantage Cloud Port provides a very cost-effective entry point
into Vantage, enabling enterprises that could not previously
afford Vantage to make use of its rich media processing feature
set. The system is differentiated from other systems in its access
to all the workflow automation capabilities that are intrinsic
to Vantage. These new cloud-enabled media processing
actions enable Vantage to utilize the benefits of a public cloud
and provides consumption-based pricing in a streamlined and
straightforward fashion.
Vantage Cloud Port is a fully featured media processing
platform with most of the characteristic Vantage transcoding
functionality including Telestream’s specialty formats and
packaging.
Learn how to collapse distribution silos so you can scale,
optimize, manage content via centralized resources, and perhaps
make your job more productive. Listen to the on-demand
webinar titled “Are Your Video Distribution Workflows Siloed?”
at https://pages.telestream.net/dist_sm
Today’s Content Distribution Challenges GoFar Beyond Transcoding and Exporting FilesCHRIS OSIKA, CHIEF MARKETING OFFICER, TELESTREAM
ABOUT TELESTREAMTelestream provides world-class live and on-demand digital video tools, workflow solutions and quality monitoring capabilities that allow consumers and businesses to transform video on the desktop and across the enterprise. Many of the world’s most demanding media and entertainment companies, and service providers, as well as a growing number of users in a broad range of business environments, rely on Telestream products to streamline operations, reach broader audiences, generate more revenue from and ensure the quality of their media. Telestream products span the entire digital media lifecycle, including video capture and ingest; live and on-demand encoding and transcoding; captioning; playback and inspection, delivery, and live streaming; automation and orchestration. With its iQ product line, Telestream enables the monitoring and management of quality service and experience over any network.
Telestream’s corporate headquarters are located in Nevada City, California and Westwood, Massachusetts. The company is privately held. For company and product information, visit www.telestream.net.
*Telestream has thousands of Vantage users
WP8 ADVANCED ENCODING & TRANSCODING VOL. 1, NO. 5 • STREAMING MEDIA • JULY/AUGUST 2019 SPONSORED CONTENT
Multiscreen Encoding/Transcoding for Ad-Supported ServicesHow the encoding/transcoding platform impacts the performance and value of ad-supported services
M ultiscreen video content and service monetization
models revolve around two main pillars: subscriptions
and advertisements. Subscription-based services may
range from short-term/pay-per-view to longer-term monthly/
annual commitment for the viewer. Ad-supported services
may range from a spray-and-pray, mass targeting to a razor-
thin, personalized approach. Those monetization models are
widely used today across live/linear as well as VOD services
and offerings.
Additionally, several operators (most prominently Hulu and
CBS All Access in the U.S.) now employ a hybrid “subscription
with limited adverts” monetization model in order to better
position their offerings across the consumer segments and
maximize their revenue potential. This also improves ad
targeting opportunities, as the viewer profile is better known/
tracked through the user’s subscription account.
Before pay TV operators and content providers can harvest
the full monetization potential of ad-supported services, they
need to put in place a complex ecosystem, from acquisition
to signaling to targeting to tracking. An essential component
of this value chain is multiscreen encoding/transcoding, and
that is the focus of this article.
ACQUISITIONIn the live workflows, ad opportunities are generally ad-hoc
(e.g. a timeout in a basketball game). The encoder platform is
expected to process those opportunities in a
frame-accurate manner through the following:
• in-band ad signaling, such as SCTE-35 or
SCTE-104
• out-of-band API-based ad signaling, such
as CableLabs ESAM
• out-of-band API-based timed metadata
insertion/injection, such as ID3 tags
(e.g. for sidebar, overlay based ads, or
VPAID-based ad tracking)
• fingerprinting or AI-based automation
for ad detection and replacement
In the VOD workflows, ad opportunities
are generally pre-decided (e.g. pre and mid
rolls). The encoder platform is expected
to process those opportunities in a frame-accurate manner
through the following:
• sidecar edit lists, such as CableLabs ESAM XML
• automation/rules (e.g. pre-roll, the first scene change after
15 mins of content)
Most high-end encoder platforms today support one or more
of the above practices, and the main challenges are time-accuracy
and interoperability. A best-effort approach in ad signaling,
instead of a frame-accurate one, severely affects the viewer
experience (e.g. a movie scene is cut mid-sentence for an advert).
CONTENT PREPARATIONAfter the ad opportunities are marked, the content itself needs
to be prepared for seamless ad insertion. The encoder platform is
expected to do the following:
• Condition the GOP structure of the encoded feed and insert
IDR frames at the boundaries of the ad opportunities.
• Adjust the segment duration of adaptive HTTP outputs so
that the boundaries of
the ad opportunities coincide with the segment boundaries.
• Decorate the corresponding manifests to signal the ad
opportunities for downstream DAI components.
• Ensure frame alignment across all adaptive variants and
across primary and backup feeds.
Figure 1: Ad signaling acquisition stage
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• Enable features such as overlays, scrolling text, etc., for
sidebar-type ad insertion.
• Enable recording automation practices such as ad-free
archiving or proof of ad delivery.
End-to-end interoperability is the key challenge in this
stage, as the encoder needs to be standards-compliant across
all adaptive delivery technologies and resilient to timestamp
drifts and failover events. Further, for live workflows where low
latency is a key competitive advantage, the encoder’s challenge
is to enable dynamic ad insertion (DAI) even in low latency
mode (e.g. LHLS or CMAF ULL over HTTP/2).
AD ASSETS PREPARATIONApart from the original content, the ad assets also need to
be transcoded in order to ensure a smooth user experience.
The transcoder platform therefore should achieve the following:
• Match the encoding properties of the original content
(e.g. codec, resolution, bitrate, aspect ratio, etc.) across all
adaptive variants. This needs to be dynamic and adjustable
so that any changes in the content are also replicated for the
ad assets by invalidating the corresponding caches.
• Deliver exceptional performance and
scalability, in terms of turnaround
time, in order to enable programmatic
ad insertion, where ad decisions are
made within milliseconds.
• Enable audio normalization and
loudness management in order to
enhance user experience without
jeopardizing compliance.
• Allow for payload-level timed metadata
insertion/injection (e.g. ID3 tags), to aid
ad tracking regardless of the packaging/
delivery protocol.
Most encoder platforms fail to deliver a unified solution across
live and VOD workflows, thus the original content and ad assets
are often produced by separate independent encoder platforms.
This practice introduces artifacts (buffering, flickering, rescaling,
audio volume fluctuation, etc.) and severely impacts the user
experience, the operator’s brand equity and consequently the ROI.
Multiscreen Encoding/Transcodingfor Ad-Supported ServicesHow the encoding/transcoding platform impacts the performance and value of ad-supported services
Figure 3: Ad assets preparation stage
Figure 2: Content preparation stage
MEDIA EXCEL’S VALUE PROPOSITION�Media Excel’s HERO product portfolio covers all aspects of multiscreen
encoding/transcoding. The HERO software can be deployed as a turn-key appliance, virtualized solution or cloud instance, enabling performance, scalability and orchestration across all form factors.
�Pristine quality of experience with adaptive encoding for H.264/AVC,H.265/HEVC up to 8K/HDR and ultra-low latency CMAF packaging.
Unified and intrinsic support for live-to-live (streaming), file-to-live(playout), live-to-file (catchup, archive), file-to-file (VoD), enabling knowledge sharing across content and ad preparation workflows.
�Native in/out-of-band ad signaling, timed metadata injection, GOP/segment/manifest conditioning and ad insertion.
Media Excel today supports Fortune 500 clients and global brandsfor their 24/7 and event-based mission critical deployments in broadcasting, cable, satellite, IPTV, pay TV, OTT/TVE, mobile, and government/DoD with five 9’s reliability.
ABOUT MEDIA EXCELFounded in 2000, the company has been the industry leader of real-time video processing software to distribute video over IP networks. Solutions from Media Excel provide the reliability,
scalability and performance required to deliver high-quality video via appliance and cloud deployment models. Powering more than 500 million multiscreen subscribers globally, and with the largest market share in multiscreen encoding, Media Excel assists pay tv operators, content providers, broadcasters, and telcos worldwide.
To learn more, please visit www.mediaexcel.com or contact us at [email protected]
WP10 ADVANCED ENCODING & TRANSCODING VOL. 1, NO. 5 • STREAMING MEDIA • JULY/AUGUST 2019 SPONSORED CONTENT
Swimming UpstreamEncoding and Streaming for Real-Time Production
M uch of the energy and attention about encoding and
streaming focuses on delivery and distribution—all
the way to the viewer watching at home or somewhere
on a mobile device.
All of this is possible through the use of IP as the transport
mechanism. IP can now be considered the last media
standard, because IP has the capability to grow and scale in
bandwidth, complexity, and installation type.
In media production, transport revolves around SDI,
a proven methodology going back in time over decades.
Consequently, encoding and transcoding has revolved around
hardware to translate SDI signals and the supported codecs
such as MPEG-2 to IP-compliant packetized streams with
codecs such as H.264 and HEVC.
For capture, acquisition, processing, and transport, the
challenge has been in how to get enough performance out
of mainstream IT practices and infrastructures using IP to
make it practical and reliable enough to use for producing
live digital media content. Production has desired the same
benefits of downstream distribution. If media production
could use IP, then the burden of confronting a new standard
again goes away. This is not true of SDI or HDMI.
At the same time, powerful currents have dramatically
re-sculpted the production landscape: Inexpensive cameras
with incredible features are everywhere, producing an
explosion of valuable content. Storage media for content
acquisition is faster and more affordable than ever, and
economical high-quality file formats abound. Non-linear
editing is quicker, cheaper, and more fun than anyone could
have imagined, and capabilities that formerly cost millions of
dollars are now a few taps away on a mobile device.
NewTek believes in making media inherent to common
IT environments. By developing Network Device Interface
(NDI®), NewTek has changed the paradigm—giving virtually
everyone access to easy-to-use, high-quality video over IP.
NDI is a software standard that requires no special hardware
of any kind. NDI provides connectivity with existing software
applications, computer platforms, and network infrastructure.
The lightweight, low overhead implementation of NDI makes it
as simple as downloading an NDI tool at no charge, and seeing
live video moving across the network with Windows, Mac, and
Linux software applications. NDI includes multiple source
encoding of signals for viewing, hearing, mixing, recording,
and editing, while retaining visual quality, frame accuracy,
and source synchronization.
NDI is not just an SDI cable replacement. It enhances
workflows with new capabilities such as resolution, aspect
ratio, and frame-rate-independent encoding up to UHD
formats. Floating-point audio processing starts at 16 channels
and scales to virtually unlimited numbers. 16-bit video color
computations ensure image precision and quality for HDR
standards. Video, proxy, key, audio, control, tally, custom
metadata, and precision timestamp data are all included in
NDI streams. Production systems can easily produce program
outputs and steaming outputs simultaneously.
Any NDI source can be recorded without recompression
and no need to transcode. Media streams are directly
converted into files, and support for “growing files” permits
access to content even while media capture continues.
Recording can be made from sources in any combination of
video aspect ratio, frame rate, or resolution. The recordings
include multi-channel audio, embedded alpha for keying,
and video proxies, and are time-stamped during capture,
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to make multi-camera synchronization simple. All of
this is great for live production, but the multi-channel
synchronization across inputs, systems, and locations also
make post-production editing fundamentally easier as well.
Recording functionality extends NDI beyond the demands
of live production where it originated into affiliated media
ecosystems such as archive, video on demand, and post-
production. An NDI tool from NewTek will import NDI files
directly into Adobe Creative Cloud applications, and NDI
devices and connectivity reduce the cost of complexity of
moving editing into cloud-based implementations.
NDI uses a unique codec with the benefit of enabling
transmission of multiple video streams across existing
infrastructures. NDI employs discrete cosine transform
compression, which is the method of compression commonly
used in encoding formats and mezzanine codecs around the
media industry. NDI is the first-ever codec to provide multi-
generational stability. Once a video signal is compressed,
there is no further loss. Generation 2 and generation 1000 of
a decode-to-encode sequence are identical. As NDI produces
IP-friendly streams and files, transcoding into some other
format for downstream use is low-overhead exercise for
software or hardware systems.
NDI technology enables identification of and
communication between IP-based production components
connected to the same local area network and operates bi-
directionally so every source is also a destination. Further, it
facilitates interconnected production workflows by enabling
encoding, transmission, and reception of multiple streams
of high-quality, low-latency, frame-accurate video, audio,
and data in real time by compatible networked components.
Devices can include video mixers, graphics systems, capture
cards, and other commonly used production equipment—all
through software, and across existing network infrastructures.
Streamlined management of individual components
means that any NDI-enabled system or device connected
to the network is seen through IP. Extremely low latency
permits sources to be synced and switched in real time for
live productions with only a single field of latency, so no
buffering is required. High-quality, resolution-independent
video provides an image virtually as clean as if it were viewed
directly in the camera. NDI implementations include video
access rights, grouping, and IP commands.
NDI uses minimal bandwidth even for multi-source
productions. GigE LANs are usable for small workflows,
and only 10Gb connectivity is needed for robust and higher
resolution ones. Extremely efficient video packaging permits
multiple streams to be stacked together even on a single
Gigabit network.
NDI does not include an inherent clocking mechanism, but
does include a 100ns UTC timestamp on every video frame
and associated audio stream. In addition to using UTC, high-
precision timing schemes such at NTP can also be utilized,
synchronizing streams arriving from different locations
on the network. NDI also supports integration with ASPEN,
SMPTE 2022, SMPTE 2110, and other emerging IP standards.
As NDI is IP-based, it supports a variety of IT conventions
to work across various network environments including mDNS
(multicast Domain Name System) discovery server functionality,
UDP multicast, forward error correction, and multi-TCP.
NDI has been designed to permit all type of suppliers to
work together. NDI is easy for manufacturers of production
components to develop compliant products. This has led to
NDI achieving the widest support of any IP protocol for media
by far. There are now thousands of companies with software
and hardware products supporting NDI, and millions of users
incorporating it into their environments.
NDI, NDI Tools, NDI Applications, and third-party NDI
systems form a powerful combination to make creative
imagination the only digital media production limitation.
Reducing the costs and complexities of encoding, transcoding,
and steaming media perfectly matches the need for
collaboratively creating and delivering more content, more
quickly, for more platforms, with less time and resources.
Find out more at www.newtek.com/ndi.
Swimming UpstreamEncoding and Streaming for Real-Time Production
About NewtekAs the leader in IP video technology, NewTek is transforming the way people create network-style television content and share it with the world. From sporting events, Web-based talk shows, live entertainment, classrooms, and corporate communications, to virtually any place people want to capture and publish live video, we give our customers the power to grow their audiences, brands and businesses faster than ever before.
Clients include: New York Giants, NBA Development League, Fox News, BBC, NHL, Nickelodeon, CBS Radio, ESPN Radio, Fox Sports, MTV, TWiT.TV, USA TODAY, Department of Homeland Security (DHS), the National Aeronautics and Space Administration (NASA), and more than 80% of the U.S. Fortune 100.
NewTek is based in San Antonio, Texas. For more information on NewTek please visit: www.newtek.com, Twitter, YouTube, Flickr or connect with us on Facebook.
WP12 ADVANCED ENCODING & TRANSCODING VOL. 1, NO. 5 • STREAMING MEDIA • JULY/AUGUST 2019 SPONSORED CONTENT
Encoding for High Quality Live Sports StreamingBY NATHAN BURR, SENIOR ENGINEERING MANAGER
Many things must be considered to ensure success
when streaming a live sporting event, including
encoding costs, venue bandwidth, and bitrates
required to optimize your workflow. And that’s just for
starters. Let’s take a deeper look at factors that impact
meeting your quality and budget requirements.
SIGNAL ACQUISITIONVenue bandwidth can be a weak link in your workflow
and restrict your ability to deliver great viewing experiences
reliably. You need to preserve as much of the original feed
as possible, with an eye toward even greater adoption of
higher-quality formats and 4K. However, you also need
to optimize the stream so it can be delivered efficiently
without getting bogged down by additional overhead such
as personalized advertising. Finding the right balance
during this step of the video workflow is critical.
Backhaul costs, which can add up quickly, must be factored
into your budget. A satellite uplink rents for around $2,000
per day, and bandwidth costs about $400 an hour. Given the
inconsistent and bandwidth-constrained conditions at some
venues, it’s always a good idea to reduce upload bandwidth
requirements as much as possible, which can help you
deliver a broadcast-like experience to your viewers.
ENCODING AND BITRATESOnce the live video feed leaves the venue, the next step
in the workflow is encoding. Here, a video encoder creates
multiple versions or variants of the audio and video at
different bitrates, resolutions, and quality levels. It then
segments the versions into a series of small files or media
segments. There are several additional steps that must
be performed as well, such as creating a media playlist
for each version containing a list of URLs pointing to the
version’s media segments. The
resulting master playlist is used
by the player to decide the most
appropriate version for the device
and the currently measured or
available bandwidth.
Live feeds need to be encoded
into any number of adaptive
bitrate formats and protocols, such
as Apple HLS and MPEG-DASH,
while minimizing latency to cover
a myriad of playback devices.
You may also need to add support
for Microsoft Smooth Streaming
for gaming consoles.
DRM can also complicate
encoding by requiring its
own set of multiple formats
to support large audience
requirements. For example,
SPONSORED CONTENT JULY/AUGUST 2019 • STREAMING MEDIA • VOL. 1, NO. 5 STREAMINGMEDIA.COM WP13
older players that don’t support DRM need HLS and AES-128.
Older iOS devices require HLS and FairPlay. Newer iOS
devices support HLS, FairPlay, and CMAF CBC. Older
versions of Windows and Android only support CMAF
CTR. Newer releases of Android, Windows, and iOS should
support all CMAF formats. This means your content must
be packaged in multiple different formats to allow playback
on all of those devices.
As resolutions increase and codecs become more
complex, it becomes harder to encode a complete ABR
encoding ladder on a single machine, whether that machine
is located in the cloud or on-prem. If your encoding hardware
can’t keep up with the live feed, you may need to look at
reducing the number of rungs on the encoding ladder, a move
that ultimately could impact your audience’s experience.
CONCLUSIONConfiguring your live stream encoding workflow often
means striking a compromise that balances desired quality
with cost and system constraints. A cloud-based managed
service can simplify the workflow and reduce bandwidth
requirements on the front end. It can also dramatically
reduce upfront and ongoing expenditures while delivering
the high-quality low-latency streams your viewers expect.
To learn more about streaming live sporting events at
scale, please see our series on Medium.com.
Encoding for High QualityLive Sports StreamingBY NATHAN BURR, SENIOR ENGINEERING MANAGER
ABOUT VERIZON MEDIAVerizon Media offers an industry-leading Media Platform that prepares, delivers, displays, and monetizes your online content. It’s built for the future of media with a comprehensive video streaming service that exceeds consumer-demand for speed, reliability, and TV-quality viewing experiences. The platform is built on the world’s largest, most connected delivery network, ensuring high-quality, instant-on viewing of digital content on every device, every time, everywhere. Multilayered content security is built into the platform to keep your origin server and content safe from cyberthreats. Visit us at https://vd.ms/50SM2019 to learn more.
WP14 ADVANCED ENCODING & TRANSCODING VOL. 1, NO. 5 • STREAMING MEDIA • JULY/AUGUST 2019 SPONSORED CONTENT
Encode and Stream Right From Your Camera
Did you know that the second-generation PTZOptics
cameras include a built-in video encoder? The SDI, USB,
and ZCam models can encode and stream multiple
high-definition video streams simultaneously while still
outputting video via HDMI, 3G SDI, NDI, and/or USB 3.0.
The combination of the camera’s advanced encoding and
robotic control capabilities have a lot to do with why broadcast
professionals are falling in love with these cameras. And don’t
just take our word for it: The second-gen PTZOptics 20X-SDI
camera was voted “Best PTZ or Network-Controlled Camera” in
the 2018 Streaming Media Magazine Readers’ Choice Awards.
By building IP video encoding capabilities into each PTZ
camera model, PTZOptics reduces the cost of video production
for many workflows in an industry that is quickly adopting
video over IP. Because PTZOptics cameras have supported IP
video connectivity from the release of the very first models in
2015, most users do not need to purchase an additional video
encoder to stream content as they would with a standard
camcorder. IP video production is obviously important to
engineers at PTZOptics, and they have worked with NewTek
to make sure every PTZOptics camera model has an option to
support NDI. NDI is a new low-latency and high-quality video
production protocol now supported by the world’s largest
video production companies.
PTZOptics’ built-in camera encoders are useful for streaming
media to platforms like Facebook, but also for streaming audio
and video directly into video production applications such as
vMix, Wirecast, Livestream Studio, or Open Broadcaster Software
(OBS). PTZOptics’ built-in video encoders are commonly used
with simple video applications like VLC media player and OBS.
But the cameras are also deployed to operate with advanced
video management servers like Wowza and GoEasyLive.
SPONSORED CONTENT JULY/AUGUST 2019 • STREAMING MEDIA • VOL. 1, NO. 5 STREAMINGMEDIA.COM WP15
The PTZOptics built-in camera encoders can encode video
and audio into popular streaming formats such as H.264,
H.265, MJPEG, and NDI HX (High Efficiency). Using the built-in
encoder inside your PTZOptics camera is a handy way to deliver
video over a local or a wide area network. Using a single ethernet
cable you can power your PTZOptics camera, deliver video, gain
robotic PTZ positioning controls, and configure your encoding
protocols with precision.
Many users like to control PTZOptics cameras using an IP
joystick, which is also available with built-in PoE (Power over
Ethernet), but others like to use their iOS or Android smartphones
over Wi-Fi. Perhaps the most popular way to control PTZOptics
cameras is already built-in to the video production system you
are already using. PTZOptics now supports direct PTZ camera
integrations with vMix, Wirecast, OBS, MimoLive, TriCaster,
Livestream Studio, Zoom Video Conferencing, and more.
In esports, the popular Twitch live streaming platform features
an extension allowing broadcasters the ability to monetize camera
control. The PTZOptics Twitch extension allows broadcasters to
give their audience control of a camera inside a location in their
broadcast. Viewers can pay bits for access to the pan, tilt, zoom
camera controls kept secure by an intermediary server. With two
easy operational modes (Que and Code) broadcasters can choose
to protect camera controls with a passcode for a trusted friend
for remote operation, or choose how much time each viewer
can have operating the PTZ camera for a fee.
Video production professionals are always finding new
ways to use the encoders and IP connectivity. Whether the
cameras are being used for previewing video over a local
area network, sending video over a wide area network, or
integrating into an advanced IP video NDI IP video production
environment, you can configure the encoders by navigating to
the camera’s IP address with any web browser and adjusting
the advanced menu options. Each camera can support two
simultaneous video streams that can be used in any resolution
configuration up to 1080p at 60 frames per second. PTZOptics
now offers PTZ cameras with 12X, 20X, and 30X optical zoom
options. A second-generation PTZOptics 30X-SDI camera costs
just $1,799, and it can zoom into a head and shoulders view of a
person on stage from up to 75 feet away.
You can learn more about PTZOptics live streaming cameras
at www.ptzoptics.com. You can also join the PTZOptics User
Group to see how customers around the world are deploying
these cameras at facebook.com/groups/ptzopticspals.
Encode and StreamRight From Your Camera
About PtZoPticsPTZOptics is a US-Based professional live streaming and broadcast camera manufacturer. Winner of the 2018 Streaming Media magazine’s Readers’ Choice Awards, PTZOptics makes some of the world’s best PTZ cameras with NDI, HD-SDI, HDMI and IP Control.
PTZOptics is known for its weekly live broadcasts on Fridays at 11a.m. PST / 2p.m. EST. Show hosts, Paul Richards and Tess Protesto, interact with audience members from businesses, churches, schools and healthcare through an active online live streaming webinar available on Facebook, YouTube and Twitch. Learn more about ptzoptics at https://ptzoptics.com.
WP16 ADVANCED ENCODING & TRANSCODING VOL. 1, NO. 5 • STREAMING MEDIA • JULY/AUGUST 2019 SPONSORED CONTENT
Economics and Evolution: The Two Drivers of Cloudification and Survival as a Niche PlayerBY LASZLO “LES” ZOLTAN
B oth economic forces and evolution are very powerful
agents of change in human behavior and technology.
Economic forces are like gravitational forces, quietly
pulling smaller objects towards them, even though it is not
evident why objects are moving in a particular direction
in the cosmos. In the same way evolutionary forces are at
play when multiple technologies meet in the market place
and only a few ultimately prevail. According to evolution,
the fittest technologies that win in the long run. Naturally,
some “boutique” providers also survive to serve niche
markets that the large providers ignore. In the evolutionary
model the fittest technology must prevail in the long run
SPONSORED CONTENT JULY/AUGUST 2019 • STREAMING MEDIA • VOL. 1, NO. 5 STREAMINGMEDIA.COM WP17
since it is better suited to the new environment. Those in
the market place ultimately must choose the best fit or
else they too will be displaced by more cost effective and
efficient providers.
This is exactly what is happening in video consumption,
and video delivery. The content delivery environment
changed with the advent of the internet. At the beginning
of the internet revolution, the gravitational pull exerted by
slower internet speeds was rather weak. In 2019 internet
speeds have improved vastly. Just as importantly, the cost
of internet bandwidth has also plummeted over the years.
The process curve is not linear, but rather an accelerating
one. This means that the cost of delivering information
as 1-’s & 0-’s is now significantly cheaper than it was 5 or
10 years ago. This is evolution at play, as “fitter” internet
technology keeps displacing less-fit technologies like DSL,
radiowaves, microwaves, and satellite. Companies in the
infrastructure market are also in an evolutionary battle
to determine who will dominate that market for the next
few years. Cisco, the long standing dominant player, gets
leapfrogged by younger challengers, and they must steel
up to do battle against these upstarts to regain supremacy.
This is the evolutionary process at play, and that is driving
down the cost of connections via IP. It is no different than
the process at play to select which animal, dominates the
herd, but dominance is temporary. There are new agile
young upstarts in technology and new challengers looking
to topple the leader of the packs.
Simultaneous with the evolution of internet speed we
are seeing evolution of better and faster codecs—in the
space of 15 years we have moved from MPEG-2, to H.264,
and now to H.265. The MPEG-2 to H. 264 evolution was
peaceful, but the adoption of H.265 may not be so smooth.
New, more robust, challengers are waiting in the wings to
challenge the heir apparent. Codecs like VC1 and VP-9 are
biding their time to challenge H.265.
So thanks to evolution, we have cheaper, more reliable
internet and we have more efficient codecs. We now have a
content hungry 1 billion viewers eager for content. These
are the unserved masses in India and Africa who don’t often
have much money but are waiting their turn to get video
content at a price they can afford. Economic theory dictates
that this very large unmet need can actually be satisfied by
massive scaling up of data centers. This is exactly what is
happening. Very large data centers are being planned and
built in India and Africa. This upscaling, of course, drives
prices down even outside of India and Africa.
These economic forces are creating the accelerating
movement towards cloudification. Cloudification is
the “end stage” or “factory-building stage,” massively
displacing in-house and outsourced economic units that
provide bandwidth and delivery. Now these super-fit
giants with large financial backing and the ability to build
massive factories, are displacing the smaller players. Just
like consolidation in other industries, in due time a few
large content delivery “factories” will dominate. Of course,
smaller niche players will survive and do well. They must,
however, differentiate themselves with unique offerings.
Interestingly, we see that the growth of the pioneers of
generic video platforms have slowed significantly. We won’t
name names, but several video platform pioneers are in
financial trouble. Cloudification is the natural next step to
the process started by home internet delivery deployment.
From in house to platform to cloudification, the process
is unstoppable.
DVEO saw this reality early and has chosen to be a
smaller, more agile, and more specialized engine provider.
We distinguish ourselves by offering non-generic encode,
transcode, decode, and insertion engines. We also offer a
cloud based error correction engine. We have chosen not
to compete with the big guys and risk death. We chose to
stay as a vital healthy niche player; coexisting with the
mega sized suppliers with niche codecs like J2K, with niche
capture capabilities, and niche cloud ad insertion engines
that offer the most features.
We have chosen to serve the customers who need
unusual features. We chose to be long-term survivors.
Economics and Evolution:The Two Drivers of Cloudificationand Survival as a Niche PlayerBY LASZLO “LES” ZOLTAN
ABOUT DVEODVEO® is a strong and well established supplier to leading Telco, TV/OTT, and WISP operators around the world. We provide telcoquality encoders, decoders, transcoders, ad insertion solutions, live media servers, and packet recovery technology… all with support for HLS/fMP4 plus optional H.265/HEVC.
WP18 ADVANCED ENCODING & TRANSCODING VOL. 1, NO. 5 • STREAMING MEDIA • JULY/AUGUST 2019 SPONSORED CONTENT
Revolutionizing High Resolution Streaming At ScaleDAN GERMAIN, SENIOR PRODUCT MANAGER COMPRESSION & VOD, AMAZON WEB SERVICES
T here is no telling where VOD customers will
view content; it could be anywhere from a
home theatre in a dedicated projection room,
an LED panel in the living room, a laptop in the
office, or more likely these days on a tablet or phone
during a morning commute. One thing is certain
though, as the resolution and dynamic range of
these displays continues to increase across all of
these devices, more efficient encoding methods are
being employed to try and keep the transcoding
requirements for all these devices under control.
Cable networks, CDNs, and streaming content
providers seem to face insurmountable challenges
when optimizing their existing VOD asset libraries
and trying to turn around new content to meet
their delivery service level agreements (SLAs).
A full-length 4K HDR feature could take traditional
workflow infrastructures over a day to render out
all of the adaptive bitrate (ABR) stacks required for
the myriad of consumer players available today.
However, with the ubiquity of cloud processing
and the advent of new technologies such as AWS
Elemental MediaConvert’s Accelerated Transcoding,
these compute-heavy workflows can be processed
with drastically reduced turnaround times, allowing
customers to meet studio’s SLAs for transcode and
QA with time to spare.
At its core, accelerated transcoding builds on
parallel processing concepts like split and stitch,
where media is broken down into segments for
processing. However, this can be tricky business,
and if it isn’t done properly you can get spikes in data
rates that can be problematic with different players. Dan Germain, Senior Product Manager Compression & VOD, Amazon Web Services
SPONSORED CONTENT JULY/AUGUST 2019 • STREAMING MEDIA • VOL. 1, NO. 5 STREAMINGMEDIA.COM WP19
Accelerated transcoding is based on incredibly
powerful engineering that takes into account data
rates, analyzes types of GOP structures, player
compatibility, and can output a full gamut of codecs,
not just for segmented outputs like HLS and Dash but
also mezzanine file types like ProRes and XDCam.
New engineering developments in transcoding
combined with the power and price performance
flexibility thanks to millions of computing cores in the
cloud is truly changing the game for VOD workflows.
In practice whenever a content distributor buys
rights from a content owner they want to turn
that content around and make it available to their
customers as soon as possible. If it takes the content
distributor a day to perform the transcoding, and then
even more time for quality control (QC), they may lose
a substantial percentage of VOD customers to their
competition. Ideally once a network secures a new
piece of media from a content owner, they want the
file transcoded, QC’d and available for customers on
demand as soon as possible, within hours not weeks.
Accelerated transcoding is a very real solution which
solves these complex compute heavy workflows.
Not only is the transcode sped up by an order of
magnitude, but thanks to a combination of new
encoding technologies like quality-defined variable
bitrate (QVBR), one transcode job can produce the
whole ABR stack of 60-70 different deliverables with up
to a 50% reduction of file size. The CDN cost savings
alone are enough to make VOD catalogue owners
evaluate the benefits of re-encoding their content
libraries to take advantage of these new processes—
especially now, when quality, price and speed are no
longer obstacles.
RevolutionizingHigh ResolutionStreaming At ScaleDAN GERMAIN, SENIOR PRODUCT MANAGER COMPRESSION & VOD, AMAZON WEB SERVICES
ABOUT AWSFor over 12 years, Amazon Web Services has been the world’s most comprehensive and broadly adopted cloud platform. AWS offers over 125 fully featured services for compute, storage, databases, networking, analytics, machine learning and artificial intelligence (AI), Internet of Things (IoT), mobile, security, hybrid, virtual and augmented reality (VR and AR), media, and application development, deployment, and management from 57 Availability Zones (AZs) within 19 geographic regions around the world, spanning the US, Australia, Brazil, Canada, China, France, Germany, India, Ireland, Japan, Korea, Singapore, and the UK. AWS services are trusted by millions of active customers around the world—including the fastest-growing startups, largest enterprises, and leading government agencies— to power their infrastructure, make them more agile, and lower costs.
WP20
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AV1: A FIRST LOOKFFmpeg 4.0 gives many video engineers their first chance to test the new AV1 codec against H.264, HEVC, and VP9. The results? In our tests, quality was impressive, but glacially slow encoding times make AV1 a non-starter for most publishers until hardware acceleration becomes available.go2sm.com/july19l
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SUPERMARKETNEW GEAR • USED GEAR • SERVICE • JOB • STARTUPS • MORE
WISIMike Skowronski, VP of Sales
[email protected]: +1 678-999-2700 | Mobile: +1 770-597-0736
www.wisi.tv
WISI has been innovating video reception and distribution technology for almost 100 years. We specialize in carrier-grade video solutions with a world-class user experience. Operators use WISI’s high-density transcoders to convert streams between HEVC, MPEG-4 and MPEG-2 for linear applications and to output frame-aligned multi-bitrate streams for OTT applications.
SPON
SOR
ED CO
NTEN
T
For more on advanced encoding and transcoding, check out thesearticles and videos from StreamingMedia.com.
SPONSORED CONTENT JULY/AUGUST 2019 • STREAMING MEDIA • VOL. 1, NO. 5 STREAMINGMEDIA.COM WP21
For information on participating in the next white paper
in the Solution Series, contact:
Joel Unickow, VP & Publisher • [email protected] Old Marlton Pike, Medford, NJ 08055TEL: 250.933.1111 MOBILE: 250.797.5635
OUR SPONSORS
TElEsTrEam848 Gold Flat Road
Nevada City, CA 95959USA
(530) 470-1300www.telestream.net
NETINT TEchNologIEsSuite 306–3500 Gilmore Way
Burnaby, BC V5G 0B8Canada
+1 (604) 628-8177www.netint.ca
mEdIa ExcEl8834 N. Capital of TX Hwy, Ste. 230
Austin, TX 78759USA
(512) 502-0034www.mediaexcel.com
VErIzoN mEdIa13031 W. Jefferson Blvd., Suite 900
Los Angeles, CA 90094USA
(213) 200-3988https://vd.ms/50SM2019
NEwTEk5131 Beckwith Blvd.
San Antonio, TX 78249USA
(210) 370-8000www.newtek.com
dVEo11409 West Bernardo Court
San Diego, CA 92127USA
(858) 613-1818dveo.com
aws 1320 SW Broadway, Suite 400
Portland, OR 97201 USA
1 (888) 900-8104aws.amazon.com/media
PTzoPTIcs152 Robbins Rd.
Downingtown, PA 19335USA
(610) 518-2200https://ptzoptics.com
For more information and articles about Telestream, see go2sm.com/telestream.
For more information and articles about NETINT, see go2sm.com/netint1.
For more information and articles about Media Excel, see go2sm.com/mediaexcel.
For more information and articles about Verizon Media, see go2sm.com/vdms.
For more articles about NewTek, see go2sm.com/newtek.
For more information and articles about DVEO, see go2sm.com/dveo.
For more articles about AWS, see go2sm.com/aws.
For more information and articles about PTZOptics, see go2sm.com/ptzoptics.